Manitou ForkLift MC30-70 Parts

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PDFLanguage : EnglishBrand: ManitouType of machine: Manitou ForkliftType of
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 CHAPTER XVIII.

A NTEK, who in reality has a soft heart, is won over evidently. For
a week he goes to the Suslovskis regularly; for three days he
walks around me, frowns, looks at me just like a wolf.
At last one day at tea he inquires peevishly, "Well, what dost thou
think of doing with that girl?"
"With what girl?"
"With that Suslovski, or what is her name?"
"I don't think of doing anything with that Suslovski, or what is her
name."
A moment of silence follows, then Antek speaks again,—
"She is whining whole days, till I cannot look at her."
What an honest soul! At that moment too his voice trembles with
emotion; but he snorts like a rhinoceros and adds, —
"A decent man does not act in that fashion."
"Antek, thou art beginning to remind me of Papa Suslovski."
"I would rather remind thee of Papa Suslovski than wrong his
daughter."
"I beg thee to drop me."
"Very well! I can even not know thee at all."
With this, the conversation ends, and thenceforth I do not speak
to Antek.
We pretend not to know each other, which is the more amusing
since we live together. We drink tea together in the morning, and it
never occurs to either of us to move out of the studio.
The time of my marriage is approaching. Through the
intermediary of "The Kite" all Warsaw knows of that now. All look at
us; all admire Eva. When we were at the exhibition, they surrounded
us so that we could not push through.
My unknown friendess sends an anonymous letter in which she
warns me that Eva is not the wife for a man like me.
"I do not believe what is said of the relations between Panna
Adami and Pan Ostrynski [writes my friendess]; but thou, O master,
art in need of a wife who would devote herself altogether to thy
greatness; Panna Adami is an artist herself, and will always be
drawing water to her own mill."
Antek goes continually to the Suslovskis, but surely as a comforter,
for the Suslovskis must know of my intentions.
I have obtained an unlimited leave of absence for Eva. She begins
to wear her hair as a village maiden; she dresses very modestly and
wears robes closed to the neck. This becomes her very much. The
scene in the dressing-room has not been repeated. Eva does not
permit it. The utmost right I have is to kiss her hands. That makes
me greatly impatient; but I flatter myself that it affects her in the
same way.
She loves me madly. We spend whole days together. I have begun
to give her lessons in drawing. She is swallowed up in those
lectures, and painting in general.
 CHAPTER XIX.

T HUNDER hurling Zeus; at what art thou gazing from the summit
of Olympus? Things are done of which philosophers have never
dreamed.
On the eve of my marriage Antek comes to me, nudges me with
his elbow, and, turning aside his dishevelled head, says gloomily,—
"Vladek, dost thou know I have committed a crime?"
"Well, since thou hast mentioned it," I answer, "what sort of a
crime?"
Antek looks at the floor fixedly, and says, as if to himself,—
"That such a drunkard as I, such an idiot without talent, such a
moral and physical bankrupt should marry such a maiden as Kazia is
an out-and-out crime."
I do not believe my ears; but I throw myself on my friend's neck
without regard to the fact that he pushes me away.
His marriage will be in a couple of days.
 CHAPTER XX.

A FTER a residence of some months in Rome, Eva and I receive a

splendid card inviting us to the wedding of Pan Ostrynski and
Panna Helena Turno, primo voto, Kolchanovski.
We cannot go, for Eva's health does not permit.
Eva paints continually, and makes immense progress. I receive a
gold medal in Pest. A certain rich Croat bought my picture. I have
entered into relations with Goupil.
 CHAPTER XXI.

A SON is born to me in Verona.

Eva herself says that she has never seen such a child.
Uncommon.
 CHAPTER XXII.

F OR some months we are in Warsaw.

I have fitted up a splendid studio. We visit the Ostrynskis
rather frequently. He has sold "The Kite," and is now "President of
the Society for Distributing Barley Grits to Laborers out of
Employment." Nothing can give an idea of his lordliness or the
gratitude with which he is surrounded. He pats me on the shoulder
and says to me: "Well, benefactor!" He patronizes literary talents
also, and receives on Wednesdays.
She is as beautiful as a dream. They have no children.
 CHAPTER XXIII.

O H, save me or I die of laughter. Antek and his wife have come

home from Paris. She poses as the wife of an artist of golden
Bohemia; he wears silk shirts, has a forelock, and wears his beard
wedge-form. I understand all; I understand that she could overcome
his habits, his character; but how did she conquer his hair?—that
remains for me an endless puzzle.
Antek has not stopped painting "corpses;" but he paints also
genre pictures of village life. He has great success. He paints
portraits too; these, however, with less result, for the carnation
always recalls the "corpse."
I asked him, through old friendship, if he is happy with his wife.
He told me that he had never dreamed of such happiness. I confess
that Kazia has disappointed me in a favorable sense.
I too should be perfectly happy, were it not that Eva begins to be
a little weak, and, besides, the poor thing becomes peevish. I heard
her crying once in the night. I know what that means. She is pining
for the theatre. She says nothing, but she pines.
I have begun a portrait of Pani Ostrynski. She is simply an
incomparable woman! Regard for Ostrynski would not restrain me,
of course, and were it not that to this hour I love Eva immensely, I
know not—
But I love Eva immensely, immensely!
THE END.
 TRANSLATOR'S NOTES.
Charcoal Sketches were written in the Pico House, Los Angeles,
California, in 1878. Perhaps the hotel is in existence yet; in that case
the register for the above year contains the signature of Sienkiewicz
and the number of his room. These Charcoal Sketches, as the author
informed me, are founded on facts observed by him, and give a
picture of life in the district where he was born and where he spent
his youth. Ignorance, selfish class isolation, and resultant social
helplessness, are depicted in remarkable relief and unsparingly.
There is not collective intelligence and strength enough in Barania-
Glova to save Repa's wife from ruin and murder. Pan Floss is driven
from his land of "Little Progress" and has to pay for Sroda's oxen,
which the owner himself turned in on his neighbor's clover; since
Pan Floss is a noble and Sroda a peasant, the latter thinks himself
justified in taking what he can from the noble in the night or the
daytime, by fair means or foul. Pan Skorabevski has no wish to
annoy himself in aiding peasants; if he wants anything from them, or
wishes to defend himself against them, he calls in Pan Zolzik. The
great public forces of Barania-Glova are the vile Zolzik, and Shmul
without conscience. Father Chyzik, the priest, considering that his
whole business is with another world, has no thought for the
temporal welfare of Repa's wife.
The following is a translation of most of the names in Charcoal
Sketches:—
Barania-Glova Sheep's Head.
Burak Beet.
Krucha Wola Brittle will.
Kruchek A small raven, or
rather a rook. It is a
 name given
frequently to a dog.
Lipa Basswood.
Maly Postempovitsi Little Progress.
Oslovitsi Asstown.
Repa Turnip.
Shmul Samuel.
Sroda Wednesday.
A phrase meaning
White Crawfish
eggs.
Zolzik Strangler.
Zweinos Two noses.
Tartar Captivity is a sketch preliminary to "With Fire and Sword."
Though it appears as a fragment of a memoir, it is an original
production written by Sienkiewicz in the style of the seventeenth
century. Here the author uses for the first time the two main
historical elements of Polish society: nobility and the Church. These
two elements were raised to an ideal height in the Polish mind.
Zdaniborski was a noble sincere and naïve, who considered the
position and privileges of the nobility to be as sacred and inviolable
as those of the Church; both he believed to be the direct product of
God's will.
Mayors of the air, referred to in Chapter V., were men appointed to
keep alive fires which would fill the air with a smoke disagreeable to
the plague or pest, and prevent it, or rather her, from approaching.
The plague or pest in the popular mind was represented as a female
who went around killing people.
On the Bright Shore. All persons who have read "Children of the
Soil" will remember Svirski, the sympathetic artist in that book; this
same Svirski is the hero of the present narrative.

That Third Woman. In this narrative the only character needing

explanation is, I believe, the minstrel. In Little Russia and the
Ukraine the minstrel called "Kobzar," from kobza, the instrument on
which he plays, and also "Did" (grandfather), because he is generally
old and sometimes blind, is a prominent figure to this day. In
centuries past he played a great part by rousing popular feeling and
carrying intelligence from place to place. At present his rôle is to
entertain people who wish to hear either what the minstrel himself
improvises, or the ballads of that region. The Duma, or ballad of the
Ukraine, is famous.

Let Us Follow Him was written somewhat earlier than "Quo Vadis,"
and was a tentative sketch in a new field, as was Tartar Captivity,
which preceded "With Fire and Sword."
 Footnotes
1 Lord's daughter, or young lady.
2 To cook crawfish, to blush.
3 A man raised from the dead by Saint Stanislav.
4 This word is the genitive of the Polish word rod, "stock," or "ancestry."
Integra rodu dignitas means "the unspotted dignity of ancestry."
5 Mussulmans.
6 Mayors of the air were officials who saw that the air was made
offensive to the pestilence. According to popular belief, the pestilence
appeared in the form of a woman.
7 Styx.
8 A Suabian, a German.
9 The translation of those four lines is:—
Star of the sea who nourished
The Lord with thy milk,
The seed of death engrafted by our first father,
Thou didst crush.
The last line in the Polish if taken alone would mean, our first father,
Skrushyla, and the wise Gomula takes it alone. Taken in connection with
its pronoun and ending the compound Tys, the first word in the third
line, it means: Thou hast crushed.
10 A great ink blot.
11 Two pigeons in one of the Persian fables of Bidpay or Pilpay.
12 Light shineth in the darkness.
13 Romulus and Remus lisp or pronounce r in the Parisian manner, hence
the use of h instead of r in the above words, both French and Polish.
14 Death.
15 For the French Sapristi.
16 Refusal.
17 A form of endearment for Kazia.
18 A form of endearment for Eva.
19 This means farewell.
20 A form of endearment for Vladek or Vladislav.
21 Eva.
22 Helena.
23 This is Russian. Glory to God.
 Typographical errors changed in
text:
p. 112 "Enunia" changed to "Evunia".
p. 197 "countenance'" changed to
"countenance,".
p. 211 "trappings" changed to "trappings,".
p. 301 "'" changed to full quote after
"rubel!".
p. 382 "lip" changed to "lips".
Words with multiple spellings retained as in
original. Return
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